TA: When you're working for someone else, there's a fundamental limitation on the work, I think, in that I can make pretty pictures and I can take all these photos, but structurally you're really limited in that it has to fit within the agenda of whoever's hiring you. And I mean, in my case they were a really great organization, but that trip in particular, I think, was really challenging for me as an artist, like wanting to go out and do all these things and realizing that ethically there was a lot of problems there. Like you're on someone else's dollar and you can't go out and make the things that you want and call yourself a journalist. You're there for a very specific reason, and especially working in refugee settlements where you're working with some of the most vulnerable people on earth, to go and as this inert particle . . . you have a very attached history to who you are and what you're doing there. So those photos are on my site as a very transparent tracing of my path as an artist, but I think that was really when I started making "Rat Film" and when I started thinking much more structurally and beyond just getting that decisive moment. Like looking at the decisive moment in a history of time in a larger structure. So they were taken from a sort of photojournalist's eye, but I have trouble calling it photojournalism because I know the reality of why I was sent over there, I know how much I made, I know how long I was there, I know what I came back to. I mean, it's again talking about photos in terms of content and then photos in terms of image economies, and I think my interests now are in the interplay between the two.